1863 Gettysburg Battle-Field Hand-Colored Lithograph, Engraved by John Bachelder

Presented here is an 1876 engraving of John B. Bachelder and James Walker’s Gettysburg. The Repulse of Longstreet’s Assault. The engraved scene depicts the decisive battle on the final day of the Battle of Gettysburg. Researched by the photographer and topographer John B. Bachelder and painted by James Walker, the original painting was created in 1870. This detailed engraving was done by H. B. Hall Jr. and published by James Drummond Ball. Otherwise called Pickett’s Charge, the battle occurred on July 3, 1863. Pickett’s corp commander, Lieutenant General James Longstreet was placed in charge of the attack despite his hesitations. Longstreet’s central role led to the title of the work, Repulse of Longstreet’s Assault. In an attempt to gain control of an important supply route, nine Confederate brigades charged across three-quarters of a mile of open ground against cannon fire to take Cemetery Ridge from the defending Union Army. Despite their overwhelming numbers, the Confederate forces were repelled with considerable casualties marking not only a decisive victory for the Union, but also the beginning of the slow defeat of Lee’s Army. The furthest the charging forces advanced before being repulsed would forever be known as the “High Water Mark of the Confederacy.” The Confederate army never recovered from the losses at Gettysburg and it effectively ended Lee’s campaign into Pennsylvania. The engraving gives the perspective from the Union rear, one that encompasses most of the battlefield, from Big Round Top on the left to the northern reaches of Cemetery Ridge on the right. The Confederate lines at Seminary Ridge are in the far distance, partially obscured by bursting shells. The image centers on the main Confederate assault, in the vicinity of what today are known as "The Copse" and "The Bloody Angle." The composition has elemen...

This nineteenth-century engraving shows a liberty pole being raised in a town square in 1776, while a sign bearing the face of King George III is removed in the background. The rioto...

This dramatic Revolutionary War engraving of the Battle of Bunker Hill is after the famous 1785 oil-on-canvas by John Trumbull. Capturing the intensity of the battle, the engraving centers on Major John Small restraining a “lobster-back” from bayoneting Major General Joseph Warren. Warren lies mortally wounded in the midst of chaos around him. In the background, British forces are seen cresting the last defenses of the brave, yet green army of Colonial soldiers. The Battle of Bunker Hill was fought on June 17, 1775, in the early stages of the American Revolutionary War. The battle is named after Bunker Hill in Charlestown, Massachusetts. Although it was the original objective of both the Colonial and British troops, the area was only peripherally involved in the battle. Rather, the majority of the combat took place on the adjacent Breed’s Hill. The battle pitted a more organized British force against a young and inexperienced American militia. Although considered a tactical victory for the British, it came at the cost of considerable casualties, including a large number of officers. The battle demonstrated that the inexperienced American militia was able to stand up to the British army troops in battle. The battle results discouraged the British from any further frontal attacks against well-defended front lines. American casualties were comparatively fewer, although their losses included Gen. Joseph Warren. During the battle, the patriot-turned-painter John Trumbull (1756-1843) was stationed in Roxbury on the far side of Boston, where he could hear the sounds of fighting. In late 1785, Trumbull decided to devote himself to the depiction of Revolutionary War scenes, a series of eight epic pictures. From the beginning, Trumbull intended for the paintings to be later engraved for sale. Trumbull began the oil-on-canvas of The Death of General Warren at the Battle of Bunker’s Hill and The Death of General Montgomery in the Attack of Quebec, in the studio of Benjamin West in London. Bunker’s Hill was completed in March 1786; Trumbull started Attack of Quebec in February 1785 and finished it before he brought it to Paris in 1786. He then started The Declaration of Independence at Thomas Jefferson's house in Paris. As soon as Bunker’s Hill was completed, Trumbull searched for a suitable engraver in London. He was unsuccessful, as many British engravers were nervous about engraving an American battle...

This 1865, hand-colored engraving by A. H. Ritchie is entitled Lady Washington's Reception and is based on Daniel F. Huntington's original painting "Th...

Published by Russell (J. C.). Denmark. Divided into Dioceses and Prefectures compiled from the best Authorities, 1790, hand-coloured engraved map on handmade paper with watermark. 41...

Antique print titled 'L'Adroit Barbier (..)'. Hand Colored Lithograph of a barber. Originates from Boilly's "Recueil de grimaces" ( Collection...

Group of Four Hand Colored Egypt Lithographs, after David Roberts, English, circa 19th Century. These were originally purchased at Ursus Gallery in...

Group of Two Hand Colored Egypt Lithographs, after David Roberts, English, circa 19th Century. These were originally purchased at Ursus Gallery in ...